maining in a horizontal position. This condition of the
hand is the _let go_, or the condition of devitalization, which should
be upon the muscles of the face, the mouth, the tongue, the jaw, and the
extrinsic muscles of the throat during the act of singing.

Thus, when we say, _lift, expand, and let go_, we mean lift from the
hips, the center of gravity, in an easy, flexible manner; expand the body
with a free movement without conscious thought of any part of it; have the
sensation of letting go all contraction or rigidity, and absolutely release
the muscles of the throat and face. The _let go_ is in reality more a
negative than a positive condition, and virtually means, when you lift and
expand, do not locally grip, harden, or set any muscle of the body, throat,
or face.

The _lift, expand, and let go_ must be in proportion to the pitch and
power of the tone. This, if done properly, will result in automatic form
and adjustment, the removal of all restraint, and open, free throat and
voice. This is the only way in which it is possible to truly vitalize, to
arouse the physical, mental and emotional powers of the singer. This is the
only way in which it is possible to put yourself and keep yourself upon a
level with the tone--upon a level, physically, mentally and emotionally.
This is in truth and in fact the singer's true position and true condition;
this is in truth and in fact self-assertion; and this, and this only, makes
it possible to easily and naturally _arouse_ "the singer's sensation,"
the true sensation of artistic singing.

We will take for our first study a simple arpeggio, using the syllables Ya
ha, thus:

[Illustration: FIRST STUDY. Ya, ha....]

We use Ya on the first tone, because when sung freely it helps to place the
tone well forward. Ya is pronounced as the German _Ja_. We use ha on
all other tones of this study for the reason that it is the natural
staccato of the voice. Think it and sing it "in glossic" or phonetically,
thus: hA, very little h but full, inflated, expanded A. A full explanation
for the use of Ya and ha may be found in "Position and Action in Singing,"
page 117. All the studies given in this little work for the illustration
and study of the movements of our system should be sung on all keys as high
and as low as they can be used without effort and without strain.

It has been said that "the production of the human voice is the effect of a
muscular effort born of a mental cause."